Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Indonesia and from Taipei.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1977.
I'm losing my edge.
To all the kids in Halifax and Winnipeg.
I'm losing my edge to the art-school Shanghai kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Kool Moe Dee to the punk kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Bobby Byrd. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bluetip record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
Stetsasonic,
Tears for Fears,
Ponytail,
DeepChord presents Echospace,
Cymande,
MC5,
Mission of Burma,
Sixth Finger,
John Coltrane,
the Germs,
Pierre Henry,
Soul Sonic Force,
Pharoah Sanders,
Dead Boys,
Max Romeo,
Hardrive,
X-Ray Spex,
Marcia Griffiths,
Yaz,
Shuggie Otis,
New Age Steppers,
Lou Reed,
Radio Birdman,
Echo & the Bunnymen,
Skriet,
The Sonics,
Sonic Youth,
Avey Tare & Kría Brekkan,
Bang on a Can All-Stars,
Godley & Creme,
Can,
Mark Hollis,
Richard Hell and the Voidoids,
The Raincoats,
Bootsy's Rubber Band,
Black Pus,
Judy Mowatt,
Marc Romboy vs. Booka Shade,
Byron Stingily,
Lucky Dragons,
Warsaw,
Louis and Bebe Barron,
Mars,
Wasted Youth,
Ultra Naté,
Neil Young,
Pantytec,
Rites of Spring,
The J.B.'s,
Marshall Jefferson,
Eric Dolphy,
Scientists,
The Zeros,
Brand Nubian,
Girls At Our Best!,
Bizarre Inc.,
Arthur Verocai,
Strawberry Alarm Clock,
Amazonics,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.